bunkers - lablog · la ricerca è parte di THE ATLANTIC WALL LINEAR MUSEUM Granted by EU programme...
Transcript of bunkers - lablog · la ricerca è parte di THE ATLANTIC WALL LINEAR MUSEUM Granted by EU programme...
* bun
kers
la ri
cerc
a è
part
e di
THE
ATLA
NTI
C W
ALL
LIN
EAR
MU
SEU
MG
rant
ed b
y EU
pro
gram
me
“Cul
ture
200
0”
è pr
omos
sa d
aO
rient
amen
to In
tern
i/Lau
rea
Spec
ialis
tica
in A
rchi
tett
ura
Faco
ltà d
i Arc
hite
ttur
a e
Soci
età/
Polit
ecni
co d
i Mila
no
a cu
ra d
iG
enna
ro P
ostig
lione
colla
bora
zion
i
alle
stim
ento
Vale
ria B
orm
olin
i, Cl
audi
a Br
unel
li, M
argh
erita
Par
ati
cons
ulen
za e
mon
tagg
ioCh
iara
Gal
eazz
i e L
ivio
Ric
eput
i del
Lab
orat
orio
di A
llest
imen
toD
ipar
timen
to IN
DAC
O
casi
stu
dio
Am
elia
Val
lett
a co
n gl
i stu
dent
i del
Lab
Inte
rni p
rof.
Post
iglio
ne
rilie
vo e
rapp
rese
ntaz
ione
Bat
teria
Sou
lac-
sur-
mer
stud
enti
del L
ab In
tern
i pro
f. Po
stig
lione
cont
ribut
iEu
ropa
Nos
tra
Faco
ltà d
i Arc
hite
ttur
a e
Soci
età
DPA
-Pol
itecn
ico
di M
ilano
bunk
ers
*int
rodu
ctio
nTw
o ye
ars
ago
whe
n, to
geth
er w
ith G
RAI a
nd R
LICC
, w
e su
bmitt
ed o
ur p
ropo
sal t
o th
e Eu
rope
an U
nion
to
obta
in c
o-fu
ndin
g fo
r th
e pr
ojec
t “Th
e A
tlant
ic W
all
Line
ar M
useu
m”,
the
stat
e of
the
art
see
med
pre
tty
chao
tic a
nd c
onfu
sing
: an
arch
ipel
ago
of in
stitu
tions
, as
soci
atio
ns, w
orki
ng t
eam
s an
d so
on,
eac
h ac
ting
at a
nat
iona
l lev
el, i
f not
loca
lly. S
o if,
on
one
hand
, th
e re
ason
s fo
r su
ch a
wid
e in
tere
st in
The
Atla
ntic
W
all s
eem
ed e
vide
nt, o
n th
e ot
her,
the
reas
ons
of it
s fr
agm
enta
rines
s w
ere
obsc
ure.
As
such
fra
gmen
ta-
tion
seem
ed p
arad
oxic
al in
asm
uch
as w
ere
evid
ent
the
valu
e an
d th
e un
ity o
f th
e im
men
se in
fras
truc
-tu
re, w
e de
vote
d m
ost o
f our
ene
rgie
s to
atte
mpt
ing
to s
yste
mat
ise
the
mul
tiplic
ity w
e w
ere
conf
ront
ed
with
. The
com
pila
tion
of a
cat
alog
ue-a
rchi
ve, r
eal-
ised
sta
rtin
g fr
om a
sta
ndar
d te
mpl
ate
(obt
aine
d by
sim
plify
ing
the
inte
rnat
iona
lly r
ecog
nise
d on
e),
has
been
the
fi rst
con
cret
e re
sear
ch to
war
d th
e co
n-st
ruct
ion
of t
he f
utur
e Li
near
Mus
eum
whi
ch t
akes
in
to a
ccou
nt t
he b
ellic
ose
infr
astr
uctu
re in
its
tran
-sn
atio
nal d
imen
sion
. The
rea
sone
d an
d cr
itica
l cat
-al
ogui
ng o
f a d
efi n
ed n
umbe
r of
cas
es, n
inet
yeig
ht
site
s in
all,
has b
een
carr
ied
out t
hank
s to
the
part
ici-
patio
n an
d re
spon
sibi
lity
of lo
cal e
xper
ts a
nd in
stitu
-tio
ns a
lread
y op
erat
ive
in t
he fi
eld,
sca
tter
ed a
cros
s th
e di
ff ere
nt co
untr
ies t
rave
rsed
by
the
Wal
l: fro
m th
e
fart
hest
, Nor
way
, to
near
er F
ranc
e, p
assi
ng t
hrou
gh
Den
mar
k, th
e N
ethe
rland
s, Be
lgiu
m a
nd th
e Ch
anne
l Is
land
s. Th
e se
lect
ion
of si
tes w
as fo
llow
ed b
y de
taile
d re
sear
ch a
nd t
he c
olle
ctio
n of
his
toric
al d
ocum
ents
, m
aps
and
phot
ogra
phs,
whi
ch c
ontr
ibut
ed t
o re
in-
forc
ing
the
idea
of u
nity
con
ceal
ed b
ehin
d th
e re
ali-
satio
n of
the
Atla
ntik
wal
l. Th
e m
ater
ials
are
pre
sent
-ed
in d
iff er
ent w
ays:
on
the
web
site
ded
icat
ed to
the
proj
ect
(ww
w.a
tlant
icw
all.p
olim
i.it)
, in
the
trav
ellin
g ex
hibi
tion
(“Th
e A
tlant
ic W
all L
inea
r Mus
eum
: cul
tur-
al h
erita
ge, c
olle
ctiv
e m
emor
y an
d co
mm
on ro
ots f
or
the
fort
hcom
ing
Euro
pe”)
, ope
ned
for
the
fi rst
tim
e at
the
Pol
itecn
ico
of M
ilan
on 2
7 O
ctob
er 2
005,
and
in
thi
s ca
talo
gue.
Con
cern
ing
the
cart
ogra
phy,
the
re
sear
ch w
ork
cond
ucte
d in
the
arc
hive
s ha
s, ab
ove
all,
brou
ght a
bout
the
real
isat
ion
of th
e fi r
st E
urop
ean
map
ping
of t
he A
tlant
ikw
all:
a m
ap o
btai
ned
by c
om-
pilin
g th
ose
belo
ngin
g to
div
erse
arc
hive
s, an
d as
-se
mbl
ed h
ere
for t
he fi
rst t
ime.
Not
with
stan
ding
the
geog
raph
ical
and
chr
onol
ogic
al d
iff er
ence
s, an
d th
e di
vers
ity o
f inf
orm
atio
n co
ntai
ned
in e
ach
shee
t, th
is
map
is a
t th
e sa
me
time
the
sign
and
the
sym
bol o
f ou
r wor
k: re
sear
ch a
imed
at s
ewin
g to
geth
er h
eter
o-ge
neou
s, au
tono
mou
s an
d se
para
ted
elem
ents
. The
w
ork
did
not
lack
diffi
cul
ties.
For
inst
ance
, whi
le e
d-iti
ng t
he c
arto
grap
hic
atla
s, to
geth
er w
ith t
he c
om-
plim
enta
ry c
oope
ratio
n of
sev
eral
peo
ple
and
inst
i-tu
tions
- al
l of t
hem
pre
sent
at
the
fi nal
con
fere
nce
at t
he P
olite
cnic
o of
Mila
n (8
Nov
embe
r 20
05) -
we
enco
unte
red
man
y ob
stac
les
deal
ing
with
mili
tary
ar
chiv
es. P
erha
ps it
is a
sig
nal t
hat
indi
cate
s on
e of
th
e th
emes
that
the
rese
arch
see
ks to
touc
h: M
emo-
ry. B
eyon
d its
doc
umen
tary
and
arc
hivi
st s
pirit
, thi
s w
ork
is a
lso
not u
naw
are
of th
e em
barr
assi
ng m
em-
ory
whi
ch li
es in
thes
e bu
ildin
gs: a
col
lect
ive,
sha
red
mem
ory,
unr
esol
ved
on a
Eur
opea
n le
vel,
and
rath
er
in so
me
resp
ects
repr
esse
d. It
is al
mos
t as i
f a g
aze
may
re
st o
n th
ese
obje
cts
only
on
the
cond
ition
that
the
role
of m
emor
y is
alie
nate
d: m
emor
ies
and
reco
rds
whi
ch a
re n
ever
thel
ess i
mpr
inte
d in
thei
r ow
n ph
ysi-
cal
stru
ctur
es a
nd i
n th
eir
geog
raph
ical
loc
atio
ns.
Slits
that
per
haps
ope
n th
roug
h th
e cr
ysta
llise
d ga
ze
of G
uido
Gui
di’s,
the
pho
togr
aphe
r w
ho, t
rave
lling
al
ong
“the
wal
l”, h
as a
rres
ted
in s
ome
unfo
rget
ta-
ble
snap
shot
s th
e fr
agm
ents
of h
isto
ry im
prin
ted
in
each
of
the
build
ings
. Ent
rust
ing
a ph
otog
raph
er’s
sens
itivi
ty w
ith t
he t
ask
of re
adin
g an
d co
nden
sing
th
e co
mpl
exity
and
vas
tnes
s of t
he d
efen
sive
syst
em
into
a li
mite
d nu
mbe
r of i
mag
es h
as b
een
one
of th
e m
ain
acts
of i
nter
pret
atio
n of
the
Vallo
Atla
ntic
o (a
s w
e ca
ll it
in It
aly)
.In
fact
, the
sna
psho
ts re
stor
e th
e re
ality
of t
he in
fra-
that
to tr
ansf
orm
the
long
Atla
ntic
Wal
l int
o a
shar
ed
mon
umen
t is
a re
al a
ctio
n, c
reat
ive
and
posi
tive,
an
exte
nsio
n of
the
mou
rnin
g th
at a
lso
keep
s al
ive
the
shar
ed m
emor
ies
stor
ed in
it. W
hat i
n fa
ct a
re m
onu-
men
ts, i
f not
mea
ns to
pre
vent
men
from
forg
ettin
g,
as w
ell a
s art
efac
ts fr
om w
hich
to d
eman
d th
e ta
sk o
f pr
eser
ving
and
pas
sing
on
colle
ctiv
e va
lues
? Th
is is
, in
fact
, the
prim
ary
purp
ose
of t
he m
onum
ent.
This
is
the
unde
rtak
ing
for t
hose
of u
s in
volv
ed in
the
At-
lant
ic W
all L
inea
r Mus
eum
: A “w
all”
that
exp
loits
the
arch
itect
onic
and
land
scap
e va
lue
of th
e m
assi
ve in
-fr
astr
uctu
re in
ord
er t
o se
w t
oget
her
publ
ic h
isto
ry
and
indi
vidu
al s
torie
s. Th
eref
ore,
it is
the
orga
nize
rs’
inte
ntio
n to
sub
mit
this
wor
k to
UN
ESCO
, in
orde
r to
over
com
e th
e fr
agm
ente
d ap
proa
ch to
the
Atla
ntik
-w
all a
nd th
e in
tere
st in
its
arte
fact
s, an
att
itude
that
ha
s of
ten
been
use
ful
only
to
furt
her
vest
ed,
and
som
etim
es u
ncle
ar, i
nter
ests
. Onl
y by
col
lect
ing
and
taki
ng b
ack
wha
t be
long
s to
us,
can
we
batt
le t
he
man
y at
tem
pts
at in
stru
men
talis
atio
n, b
ringi
ng n
ew
life
to a
pie
ce o
f our
his
tory
, whi
ch is
als
o, in
diss
olu-
bly,
a p
iece
of o
ur b
ody.
gen
naro
pos
tiglio
ne
stru
ctur
e, fi
ltere
d th
roug
h th
e ga
ze o
f the
pho
togr
a-ph
er, p
erfo
rmin
g a
redu
ctio
n an
d a
synt
hesi
s ab
le to
off
er
the
visi
tor
a pr
ivile
ged
way
to
unde
rsta
nd t
he
com
plex
ity b
eyon
d an
d w
ithin
the
intr
icat
e de
fen-
sive
net
. Not
unl
ike
so m
any
war
like
vest
iges
whi
ch
inva
de m
any
of o
ur m
etro
polis
es, e
mer
ging
in t
he
urba
n gr
id a
s uni
nvite
d gu
ests
, the
Atla
ntic
Wal
l bun
-ke
rs sh
ow th
eir i
ncap
acity
, or u
nwill
ingn
ess,
to b
e ab
-so
rbed
or
eras
ed. T
hey
are
frag
men
ts w
hich
esc
ape
any
act
of n
orm
alis
atio
n or
pla
nnin
g, t
he r
eign
of
chao
s and
unh
eim
elic
h, th
at d
istu
rbin
g m
emor
y, th
e Fr
eudi
an “u
ncan
ny”;
they
are
shr
eds
of a
pas
t w
hich
ca
nnot
fi nd
its o
wn
emot
iona
l, fu
nctio
nal,
and
spat
ial
loca
tion,
a re
sult
of a
mem
ory
neve
r ela
bora
ted
and
too
sim
ply
rem
oved
. It
is w
orth
und
erlin
ing
and
re-
info
rcin
g w
ith d
eter
min
atio
n an
abs
olut
ely
nega
tive
judg
men
t on
war
, on
that
war
, and
on
who
pro
mot
ed
that
war
and
was
its
prin
cipl
e ac
tor:
Adol
f Hitl
er a
nd
the
Third
Rei
ch, w
hose
act
ions
sta
ined
with
blo
od,
suff e
ring
and
horr
or,
the
sam
e la
nd w
here
tod
ay
man
y of
us
are
tryi
ng to
con
stru
ct a
sha
red
futu
re o
f pe
ace.
The
refo
re, i
t is
also
nec
essa
ry to
rein
forc
e th
at
invo
lvem
ent
in t
hese
“em
barr
assi
ng”
war
like
arte
-fa
cts h
as n
othi
ng w
hats
oeve
r to
do w
ith a
ny a
ttem
pt
to re
habi
litat
e th
ose
who
cre
ated
that
war
and
thos
e w
ho b
elie
ved
in it
. On
the
cont
rary
, we
emph
asiz
e
*des
crip
tion
Infr
astr
uctu
re
The
Atla
ntic
Wal
l is o
ne o
f the
last
maj
or d
efen
ce li
nes
of th
is c
entu
ry. I
t was
bui
ld b
y th
e G
erm
an o
ccup
a-tio
n fo
rces
in th
e pe
riod
1941
-194
4 al
ong
the
coas
t of
Fra
nce,
Bel
gium
, Net
herla
nds,
Ger
man
y, N
orw
ay
and
Den
mar
k. T
he m
ain
goal
was
to
prev
ent
allie
d la
ndin
gs o
n th
e sh
ores
of t
hese
cou
ntrie
s.D
urin
g th
is p
erio
d m
ore
than
150
00 h
eavy
, con
cret
e bu
nker
s w
ere
built
. An
amou
nt t
hat
is i
mpr
essi
ve
by t
he q
uant
ity, t
he c
ost
and
the
invo
lved
labo
ur.
Mor
eove
r m
any
pris
oner
s w
ere
forc
ed t
o w
ork
on
the
cons
truc
tion
and
lost
thei
r liv
es th
ere
inte
rsec
t-in
g pr
ivat
e st
orie
s w
ith s
ocia
l his
tory
.Th
e in
fras
truc
ture
, whi
ch is
a u
niqu
e ex
ampl
e of
its
kind
, is
of g
reat
val
ue fo
r m
any
reas
ons.
The
arc
hi-
tect
ural
qua
lity
of it
s vas
t bui
ldin
g sy
stem
, the
abi
lity
of th
ese
obje
cts
to d
efi n
e a
new
aes
thet
ic c
anon
for
mod
erni
ty, t
he r
elat
ions
hip
they
hav
e es
tabl
ishe
d w
ith th
eir n
atur
al a
nd o
r urb
an c
onte
xts ¬
bec
omin
g es
sent
ial e
lem
ents
for i
nter
pret
ing
the
cultu
ral l
and-
scap
e . T
he g
reat
est v
alue
of t
his
syst
em o
f mili
tary
fo
rtifi
catio
ns h
owev
er r
esid
es in
its
bein
g th
e m
ost
wid
espr
ead
herit
age
of E
urop
ean
cultu
re p
rese
rvin
g a
colle
ctiv
e m
emor
y of
WW
II.
wou
ld b
e th
e fi r
st co
ncre
te st
ep to
war
ds re
cogn
izin
g th
e in
fras
truc
ture
’s va
lue,
and
indi
spen
sabl
e fo
r the
cr
eatio
n of
a L
inea
r M
useu
m.
The
atla
s w
ould
als
o co
mpr
ise
a se
ries
of p
hoto
grap
hs p
ropo
sing
a c
riti-
cal a
naly
sis o
f the
infr
astr
uctu
re a
nd th
e re
latio
nshi
p it
has
form
ed w
ith i
ts s
urro
undi
ngs.
Thi
s sp
ecifi
c ph
otog
raph
ic c
ampa
ign
wou
ld s
erve
bot
h as
a te
s-tim
ony
and
an in
terp
reta
tion
of t
he s
truc
ture
s an
d th
eir v
alue
.
Trav
ellin
g Ex
hibi
tion
“The
Atla
ntic
Wal
l tra
ces:
“Cul
tura
l Her
itage
, Col
lec-
tive
Mem
ory
and
Com
mon
Roo
ts fo
r the
For
thco
m-
ing
Euro
pe”.
The
exhi
bitio
n w
ould
pre
sent
in a
con
-ci
se a
nd e
voca
tive
way
, a se
lect
ion
of m
ater
ials
(map
s an
d ph
otog
raph
s) p
ropo
sing
crit
ical
inte
rpre
tatio
ns
whi
ch w
ould
stim
ulat
e th
e de
velo
pmen
t of a
col
lec-
tive,
sha
red
cons
ciou
snes
s of
the
arch
itect
ural
, aes
-th
etic
and
land
scap
e va
lue
of th
is im
men
se c
ultu
ral
herit
age
avai
labl
e to
the
gene
ral p
ublic
. A p
rese
nta-
tion
of s
torie
s an
d co
mpo
rtm
ents
bot
h ar
isin
g fr
om
and
occu
ring
on th
e te
rrito
ry: a
pla
ce w
here
col
lec-
tive
and
indi
vidu
al m
emor
ies
over
lap
(nat
iona
l and
Eu
rope
an).
The
stat
e of
aba
ndon
men
t of
muc
h of
the
Atla
ntic
W
all j
eopa
rdiz
es b
oth
its e
xist
ence
and
the
val
ues,
whi
ch it
repr
esen
ts. P
rese
rvin
g th
is m
emor
y an
d hi
s-to
ry is
ess
entia
l for
a E
urop
e in
tent
on
build
ing
its
own
futu
re .
At t
he s
ame
time,
it’s
also
impo
rtan
t to
form
and
sen
sitiz
e pu
blic
opi
nion
con
cern
ing
the
valu
e of
suc
h an
ext
raor
dina
ry tr
ansn
atio
nal t
errit
o-ria
l inf
rast
ruct
ure.
To u
nder
line
the
Atla
ntic
Wal
l’s a
rchi
tect
ural
, ae
s-th
etic
and
cul
tura
l lan
dsca
pe v
alue
as a
tran
snat
ion-
al c
ultu
ral h
erita
ge, p
rese
rvin
g a
shar
ed c
olle
ctiv
e m
emor
y ¬
on E
urop
ean
soil.
Thi
s he
ritag
e w
ould
be
salv
aged
and
pro
tect
ed th
roug
h th
e cr
eatio
n of
The
A
tlant
ic W
all
Line
ar M
useu
m,
cont
extu
aliz
ing
the
fort
ifi ed
land
scap
e in
to a
ser
ies
of ‘m
useu
m s
pace
s’ sp
anni
ng t
he W
all,
whi
ch w
ould
pro
vide
the
inhe
r-en
t in
fras
truc
tura
l in
form
atio
n ne
eded
to
inst
ill i
n in
divi
dual
s an
d co
mm
uniti
es a
pro
cess
for r
eapp
ro-
pria
ting
the
land
scap
e an
d th
eir c
olle
ctiv
e m
emor
y.
acti
ons
The
Atla
ntic
Wal
l Atla
sTh
e pu
blic
atio
n of
an
atla
s, pr
esen
ting
an h
isto
ri-ca
l doc
umen
tatio
n of
map
s of
the
area
s co
ncer
ned
tity
with
in th
e co
ntex
t of t
he E
urop
ean
Uni
on, i
s one
of
the
mai
n ob
ject
ives
of t
his
conv
entio
n.
The
Web
-Gat
eway
“The
Atla
ntic
Wal
l Lin
ear M
useu
m”
As
the
only
pla
ce w
here
obj
ects
, la
ndsc
ape
and
mem
ory
can
eff e
ctiv
ely
mee
t an
d re
latio
nshi
ps b
e dr
awn
betw
een
a m
ultit
ude
of e
lem
ents
, em
phas
iz-
ing
cert
ain
char
acte
ristic
s an
d va
lues
, the
web
site
w
ill b
e a
real
“Web
-Mus
eum
” .
As
a di
dact
ic in
stru
men
t cap
able
of r
each
ing
a la
rge
audi
ence
, ov
er a
vas
t te
rrito
ry,
the
Web
-Mus
eum
re
pres
ents
a s
hare
d ar
chiv
e fo
r con
serv
ing
and
dis-
play
ing
-follo
win
g th
e st
ricte
st m
useu
m t
radi
tions
-
a he
ritag
e w
hose
val
ue a
nd v
astn
ess
cont
ribut
e to
legi
timiz
ing
the
exis
tenc
e of
a E
urop
e bo
th g
eo-
grap
hica
l and
soc
io-p
oliti
cal.
The
web
site
, bes
ides
ser
ving
as
an e
ffi ci
ent
way
to
com
mun
icat
e an
d pr
esen
t map
s, ph
otog
raph
ic a
nd
text
ual m
ater
ial r
esul
ting
from
rese
arch
of t
he A
tlan-
tic W
all w
ill a
lso
serv
e as
an
cent
re w
ith h
yper
text
ual
links
to p
ut th
ose
inte
rest
ed, i
n co
ntac
t with
an
en-
tire
netw
ork
of o
ther
site
s an
d a
sele
ctio
n of
crit
ical
w
orks
abo
ut th
e A
tlant
ic W
all,
avai
labl
e on
the
web
The
mai
n ob
ject
ive
of t
he e
xhib
ition
is t
o op
pose
th
e pr
oces
s of
dis
inte
grat
ion
of th
e A
tlant
ic W
all r
e-su
lting
from
pub
lic n
egle
ct a
nd re
appr
opria
te o
n a
Euro
pean
sca
le,
its s
peci
fi c p
ositi
ve v
alue
a a
s a
tes-
timon
y of
“res
ista
nce”
and
the
crea
tion
of p
eace
.
Inte
rnat
iona
l Con
vent
ion
“The
Atla
ntic
Wal
l tra
ces:
“Cul
tura
l Her
itage
, Col
lec-
tive
Mem
ory
and
Com
mon
Roo
ts fo
r the
For
thco
m-
ing
Euro
pe”
The
Conv
entio
n sh
ould
pro
mot
e a
criti
cal d
iscu
ssio
n of
the
wor
k, re
sear
ch a
nd o
bjec
tives
und
erta
ken
and
serv
e as
a fo
rum
for e
xcha
ngin
g id
eas
and
inte
rpre
-ta
tions
of t
he A
tlant
ic W
all i
nfra
stru
ctur
e. T
he d
iver
se
anal
ytic
al a
ppro
ache
s an
d pr
opos
ed th
emes
will
be
pres
ente
d as
pap
ers
and
or le
ctur
es.
Repr
esen
tativ
es a
nd P
artn
ers
or P
artic
ipan
ts a
s w
ell
as o
ther
out
side
par
ties i
nvol
ved,
will
als
o off
er t
heir
own
cont
ribut
ion
conc
erni
ng th
e gr
eat v
alue
of t
he
Atla
ntic
Wal
l as
a tr
ansn
atio
nal c
ultu
ral h
erita
ge u
n-de
rlini
ng a
sha
red
colle
ctiv
e m
emor
y. ¬
on
Euro
pe-
an s
oil.
The
prom
otio
n of
an
Atla
ntic
Wal
l Lin
ear
Mus
eum
, un
derli
ning
a c
omm
on s
ocio
-pol
itico
-cul
tura
l ide
n-
http
://w
ww
.atla
ntic
wal
l.pol
imi.i
t
gen
naro
pos
tiglio
ne
elab
orat
o gr
afi c
o es
trat
ti da
lla te
si d
i lau
rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
*cro
nolo
gia
elab
orat
o gr
afi c
o es
trat
ti da
lla te
si d
i lau
rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
*avv
icin
amen
to
*atla
ntik
wal
lm
appe
trat
te d
a A
tlant
ikw
all L
inea
r Mus
eum
exh
ibiti
on,
2005
-200
6
Re-a
ssem
bled
map
of A
tlant
ikw
all b
atte
ries
and
fort
ress
en
gine
ers,
1944
-45
(Map
s of
Fra
nce,
Bel
gium
and
The
N
ethe
rland
s ©
SH
M; m
aps
of D
enm
ark,
Ger
man
y an
d N
orw
ay ©
BM
A/F
R; m
ap o
f Cha
nnel
Isla
nd P
L)
Exce
rpt f
rom
:“C
arte
de
l’éca
t des
trav
aux
défe
nsifs
de
la IV
e ré
gion
du
géni
e de
For
tere
sse”
, Orig
. 1:1
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t 28e
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ngs
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ier S
taeb
e, 2
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ne 1
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aese
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. 1
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*ter
ritor
io
Orig
. 1
: 2
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R:
RH
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9)
3 H
anst
ed, A
nl. 4
: Thy
borø
n-Bu
lbje
rg, o
rig. 1
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000
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gstø
r, or
ig. 1
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00 (©
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tzpu
nkt
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Agge
r, or
ig. 1
:500
0 (c
opy
© M
CH)
estr
att
i o
rig
ina
li d
el “T
yp
en
he
ft”,
il ca
talo
go
co
mp
leto
di tu
tte
le
tip
olo
gie
di b
un
ke
r*t
ipol
ogia
ma
pp
e o
rig
ina
li d
ella
tip
olo
gia
66
7 e
str
att
e d
al Typ
en
he
ft
E. D
iller
, R. S
cofi d
io, B
ack
to th
e fro
nt: T
ouris
m o
f W
ar, 1
994
*str
ateg
ie
elab
orat
o gr
afi c
o es
trat
ti da
lla te
si d
i lau
rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
Orig
. 1:2
5000
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MA
/FR:
RH
19
IV/1
21 K
2)
Orig
. 1:2
5000
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MA
/FR:
RH
19
IV/1
14 K
5)
Orig
. 1:1
0000
(© B
MA
/FR:
RH
19
IV/1
10 K
1)
“Wirk
ungs
bere
iche
d.H
.K.,
Art
.u.F
lak,
Cha
nnel
Isla
nds”,
orig
. 1:5
00.0
00 (©
PL)
elab
orat
o gr
afi c
o es
trat
ti da
lla te
si d
i lau
rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
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ento
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ers
bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk
sssbb
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kkkkkkkkkkkkkkkkbu
nke
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ipol
ogie
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orat
o gr
afi c
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trat
ti da
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si d
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rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
*vuo
ti
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orat
o gr
afi c
o es
trat
ti da
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si d
i lau
rea
di D
anie
la
Canz
i ed
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r Gol
ia, 2
006
*for
ma
elab
orat
o gr
afi c
o es
trat
ti da
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si d
i lau
rea
di D
anie
la
Canz
i ed
Este
r Gol
ia, 2
006
*per
cors
i
*ess
enza
*The
Atla
ntic
Wal
l: bu
nker
and
/as
mod
ern
arch
itect
ure
“L’a
rchi
tect
ure,
c’e
st, a
vec
des
mat
ière
s br
uts,
étab
lir d
es r
appo
rts
émou
-va
nts”.
Intr
oduc
tion
On
the1
4th
of M
arch
194
1 Ad
olf H
itler
for t
he fi
rst
time
talk
ed a
bout
the
“Atla
ntik
wal
l” w
hich
was
sup-
pose
d to
def
end
the
Fort
ress
Eur
ope
from
the
inva
-si
on c
omin
g fr
om t
he W
est.
On
the
23rd
Mar
ch o
f th
e ne
xt y
ear i
n th
e D
irect
ive
on W
ar n
o. 4
0, th
e A
t-la
ntik
Wal
l was
offi
cial
ly e
stab
lishe
d. H
ardl
y a
mon
th
afte
r, A
lber
t Spe
er su
ccee
ded
Fritz
Todt
, who
die
d in
a
mys
terio
us a
ir cr
ash,
as
head
of t
he o
rgan
izat
ion,
th
at r
etai
ned
its fo
rmer
nam
e, a
nd s
uper
vise
d th
e co
nstr
uctio
n of
fort
ifi ca
tions
, mob
ilizi
ng th
ousa
nds
and
thou
sand
s of p
eopl
e, am
ong
them
pris
oner
s and
de
port
ed. H
itler
’s pr
ojec
t w
as a
imed
st
cons
truc
t-in
g a
line
of fo
xhol
es, a
sor
t of b
ackb
one
to E
urop
e fa
cing
the
ocea
n (R
olf,
1998
). Vi
rilio
, who
took
pho
-to
grap
hs o
f the
se c
oncr
ete
cons
truc
tions
bet
wee
n 19
58 a
nd 1
965,
tal
ks o
f mod
ern
mon
olith
s, “s
mal
l-si
zed
tem
ples
with
out
relig
ion”
, cry
pts
that
pre
fi g-
ure
the
Resu
rrec
tion.
“A
fox
hole
” (s
tuzp
unkt
), he
w
rites
, lite
rally
mea
ns “s
tron
g ho
use”
and
not
“fal
se
hous
e” a
s st
ated
in d
ictio
narie
s; a
rein
forc
ed h
ouse
, an
arm
our t
hat s
urro
unds
a s
oldi
er, b
ut a
lso
a fo
rm
of “d
isap
pear
ance
” (Vi
rilio
, 196
8). O
ur re
sear
ch-w
ork
high
light
ed a
n is
sue
alre
ady
rais
ed b
y th
e Fr
ench
ar
chite
ct a
nd a
fter
war
ds b
y (D
iller
& S
cofi d
io, 1
995)
:
* la
cos
truz
ione
del
l’Atla
ntik
wal
l sfr
utta
e a
ccel
lera
i pr
oces
si d
i ind
ustr
ializ
zazi
one
dell’
edili
zia.
Son
o le
indu
strie
di F
rits T
odt,
a cu
i era
no a
ffi da
ti tu
tti i
lavo
ri de
l gen
io
mili
tare
del
III°
Reia
ch ,a
real
izza
re l’
inte
ra in
fras
trut
tura
.
* il
nuov
o m
ater
iale
app
are
capa
ce d
i dar
e es
pres
sion
e “p
ura”
al p
rogr
amm
a fu
nzio
n-al
e, d
i seg
uire
e a
datt
arsi
alle
esi
genz
e de
ll’us
o e
della
pro
duzi
one.
the
clos
e co
nnec
tion
that
exi
sts
betw
een
thes
e ar
-ch
itect
ures
of w
ar a
nd m
any
build
ings
pla
nned
by
the
Mod
ern
Mov
emen
t, bu
t als
o bu
nker
as
a po
int
of re
fere
nce
to a
gre
at p
art o
f mod
ern
& c
onte
mpo
-ra
ry a
rchi
tect
ure.
Bun
kers
as
an ic
on o
f m
oder
nity
(P
ostig
lione
, 200
5).
The
rese
arch
ent
itled
“Th
e A
tlant
ic W
all
Line
ar
Mus
eum
”[1]
pro
mot
ed a
nd
deve
lope
d a
valo
risa-
tion
proj
ect w
ith th
e ai
m o
f brin
ging
the
vast
her
it-ag
e of
WW
II bu
ilt a
long
the
Atla
ntic
coa
st b
ack
into
th
e w
orld
of
cultu
ral h
erita
ge b
ut a
lso
in t
he o
ne
of a
rchi
tect
ure.
The
pro
ject
was
act
ually
inte
nded
to
dra
w a
tten
tion
to th
e ar
chite
ctur
al, a
esth
etic
and
la
ndsc
ape
valu
e of
the
Atla
ntik
wal
l, un
ders
tood
as
a tr
ans-
natio
nal c
ultu
ral h
erita
ge.
Hor
izon
tal v
isio
n, a
esth
etic
fasc
inat
ion
and
terr
ito-
rial d
imen
sion
Bun
kers
are
bas
ed o
n th
e pr
ivile
ge o
f a
horiz
onta
l rat
her t
han
a ve
rtic
al v
isio
n; w
indo
ws,
as L
e Co
rbus
ier
wro
te (L
e Co
rbus
ier,
1923
), w
ill n
o m
ore
be v
ertic
al, b
ut h
oriz
onta
l. Th
ey fo
llow
a n
ew
view
of t
he w
orld
impo
sed
by th
e ci
nem
a, a
n as
pect
w
hich
app
ears
to b
e di
ctat
ed m
ore
by a
cul
tura
l fac
-to
r th
an b
y a
true
tec
hnic
al n
eed;
and
in b
unke
rs
this
hor
izon
tal c
ut p
erfe
ctly
cor
resp
onds
to th
e ob
-se
rver
’s ey
e m
ovem
ent t
hrou
gh th
e si
ghts
of a
n au
-
tom
atic
wea
pon
whi
le o
bser
ving
the
hor
izon
(Bel
-po
liti,
2006
). Fr
uit o
f des
ire a
nd n
eces
sity
to c
ontr
ol,
“to
surv
ey,”
bunk
ers
depr
ive
a pl
ace
of it
s ge
nesi
s:
abso
lute
ly a
topi
cal,
thes
e co
nstr
uctio
ns r
espo
nd
to c
omm
unal
prin
cipl
es m
ergi
ng t
he n
eces
sity
to
cont
rol t
he h
oriz
on w
ith th
e ne
cess
ity to
gen
erat
e ne
twor
ks, t
o bu
ilt-u
p a
syst
em. A
sys
tem
of p
oint
s, is
olat
ed b
ut a
t th
e sa
me
time
kept
tog
ethe
r by
a
dens
e ne
twor
k of
com
mun
icat
ions
and
infr
astr
uc-
ture
s; o
ften
inca
pabl
e of
look
ing
at e
ach
othe
r, th
ey
are
plac
ed in
a m
utua
l rel
atio
nshi
p on
ly a
ccor
ding
to
the
Com
man
d Po
st’s
posi
tion
(Rol
f, 19
80).
This
is
the
esta
blis
hmen
t of
typ
olog
ical
sup
erio
r-ity
as
oppo
sed
to th
e to
polo
gica
l one
, so
dear
to a
gr
eat
part
of t
he r
ecen
t an
d m
ore
dist
ant
clas
sica
l ar
chite
ctur
e: t
he o
rgan
izat
ion
of fo
rm is
in n
o w
ay
rela
ted
to th
e co
ntex
t if n
ot fu
nctio
nally
, whi
ch e
n-ab
les
an in
terp
reta
tion
of th
e bu
nker
as
the
arch
e-ty
pe o
f tum
ulus
in it
s do
uble
ack
now
ledg
emen
t of
a m
onum
ent a
nd a
tom
b. M
onum
enta
l is i
ts d
esire
/ne
cess
ity fo
r ete
rnity
(of b
eing
inde
stru
ctib
le);
it is
to
mb-
like
beca
use
of it
s re
ject
ion
of t
he e
xter
nal
wor
ld in
ter
ms
of t
opos
and
inst
alla
tion
(in o
rder
to
be
invi
sibl
e). I
t is
an
arch
itect
ure
that
bec
omes
* To
dt
red
ige
il “T
yp
en
he
ft”,
il ca
talo
go
co
mp
leto
di tu
tte
le
tip
olo
gie
di b
un
ke
r
ne
ce
ssa
rie
a p
rote
gg
ere
il fr
on
te o
ccid
en
tale
.
Ne
l R
eg
elb
au
co
mp
ito
ed
ilizio
, m
ate
ria
le e
co
str
uzio
ne
co
nve
rgo
no
* Le
Cor
busi
er, m
aiso
n D
om-In
o, 1
915,
e l’
idea
di i
ndus
tria
lizza
re la
cos
truz
ione
del
la
casa
: aff r
onta
la q
uest
ione
in m
odo
stru
ttur
ale
e no
n lin
guis
tico
com
e in
vece
fa n
egli
stes
si a
nni P
erre
t che
cer
ca u
n ca
none
per
il n
uovo
mat
eria
le/t
ecni
ca.
subt
erra
nean
and
exc
avat
ed, v
anis
hing
in th
e sa
me
land
scap
e it
is in
sert
ed in
, out
of t
he n
eed
for m
ime-
sis
and
out
of in
diff e
renc
e to
the
con
text
. Bun
kers
, pu
rely
abs
trac
t in
cha
ract
er a
nd v
alue
(ab
stra
ctio
n of
pla
ce m
ore
than
abs
trac
tion
of u
se),
seem
als
o to
su
gges
t the
ir po
ssib
le fu
ture
: una
ble
to re
turn
to th
eir
orig
inal
func
tion,
they
app
ear t
o be
mer
e si
gnifi
cant
ob
ject
s w
hich
can
not f
ulfi l
a p
urpo
se th
at d
oes
not
impl
y an
abs
olut
e el
imin
atio
n of
any
func
tion.
The
aest
hetic
dim
ensi
on o
f bun
kers
can
be
cons
id-
ered
a n
ew in
terp
reta
tive
para
met
er, n
ot o
nly
in re
-la
tion
to m
oder
nity
. The
exc
avat
ed c
ompa
ct s
tere
o-m
etric
mon
omat
eria
l for
m in
terp
rets
and
infl u
ence
s in
an
embl
emat
ic m
anne
r th
e ca
non
and
man
y of
th
e cu
rren
t ar
chite
ctur
al t
rend
s: fr
om m
onom
ater
i-al
ist m
inim
alis
m to
the
inst
alla
tioni
sm o
f the
land
art
m
atrix
, fro
m t
he a
esth
etic
s of
mac
hine
to
conc
ep-
tual
abs
trac
tion
that
tra
nsfo
rms
mat
eria
l int
o pu
re
mat
ter.
The
rela
tions
hip
betw
een
cons
truc
tion
and
deco
ratio
n is
defi
nite
ly b
roke
n in
a m
anne
r tha
t the
la
tter
no
long
er e
xpre
sses
the
reas
ons
of th
e fo
rmer
. Th
e ex
pres
sive
aes
thet
ic fi
gura
tive
valu
e of
the
ma-
teria
l tak
es t
he e
dge
off
tect
onic
s, be
com
ing
pure
la
ngua
ge a
nd p
ropo
sing
a p
ath
to a
rchi
tect
ure
that
, in
fac
t, ha
s be
com
e ou
r pr
esen
t. W
hat
else
sho
uld
a co
nstr
uctio
n sh
ow o
r sa
y to
be
reco
gniz
ed a
s ar
-ch
itect
ure
both
of i
ts o
wn
time
and
over
com
ing
it?
Ther
efor
e, c
ompa
ring,
for e
xam
ple,
the
tow
ers e
rect
-ed
by
Ger
man
s on
the
Chan
nel I
slan
ds a
nd th
e pr
o-fi l
e of
Wrig
ht’s
Gug
genh
eim
Mus
eum
in
New
Yor
k (1
956)
, we
agai
n di
scov
er a
dis
turb
ing
form
al p
aral
-le
l: a
narr
ow v
ertic
al c
revi
ce a
s th
e ch
arac
teris
ing
ar-
chite
ctur
al m
otif.
But
ther
e ar
e al
so o
ther
sim
ilarit
ies
to b
e no
ticed
, for
inst
ance
, with
a la
rge
part
of a
rchi
-te
ctur
e bu
ilt b
efor
e th
e w
ar, f
rom
Men
dels
ohn’
s Ei
n-st
ein
Tow
er in
Pot
sdam
(191
9-20
) to
Stei
ner’s
Goe
th-
enau
m in
Don
arch
(192
4-28
), or
som
e ty
polo
gies
of
grea
t civ
ilian
arc
hite
ctur
e, li
ke A
mer
ican
bar
ns c
ele-
brat
ed b
y Le
Cor
busi
er h
imse
lf (L
e Co
rbus
ier,
1923
), au
thor
, am
ong
othe
rs, o
f the
Mon
aste
ry S
ante
-Mar
ie
de L
a To
uret
te.
Built
in
1959
, its
nor
ther
n fa
çade
pr
esen
ts it
self
like
a pr
ofi le
of
a bu
nker
. The
late
ral
wal
ls o
f the
cha
pel,
with
thre
e op
enin
gs th
at le
t lig
ht
into
the
und
ergr
ound
roo
m (c
alle
d by
Le
Corb
usie
r “c
anno
n lig
hts”
!), a
ccor
ding
to
Colin
Row
e, c
reat
e a
serie
s of
whi
rling
forc
es, j
ust
as it
is t
he c
ase
with
bu
nker
s’ fo
rms/
forc
es. B
runo
Zev
i spe
aks i
n hi
s his
to-
ry o
f arc
hite
ctur
e ab
out t
he a
band
onm
ent o
f cla
ssi-
cism
, abo
ut th
e en
d of
the
clas
sic
and
ratio
nalis
t era
(Z
evi,
1975
). Th
eref
ore
bunk
ers
can
be s
een
as a
link
* il
man
ufat
to in
teso
com
e “p
rodo
tto”
com
port
a la
tipi
zzaz
ione
di t
utti
gli i
mpi
anti:
da
lla c
onfo
rmaz
ione
spa
zial
e ai
sis
tem
i di a
reaz
ione
.*
la v
ersa
lità
del C
A c
onse
nte
di d
are
form
a co
mpi
uta
ed e
satt
a al
pro
gram
ma
funz
ion-
ale:
un
prog
ram
ma
di u
si, d
i tem
pi d
i rea
lizza
zion
e, d
i tem
po d
i ese
rciz
io, d
i sic
urez
za
betw
een
pre-
war
and
pos
t-w
ar a
rchi
tect
ure:
a s
ort
of b
ridge
con
nect
ing
diff e
rent
per
iods
of
Mod
ern
Mov
emen
t. Th
is e
nabl
es th
e in
trod
uctio
n of
ano
ther
as
pect
that
the
Atla
ntic
Wal
l bui
ldin
gs h
ave
in c
om-
mon
with
mod
ern
arch
itect
ure:
the
use
of re
info
rced
co
ncre
te im
plie
s in
deed
not
onl
y an
aes
thet
ic, b
ut
also
the
indu
stria
l pro
cess
of a
con
stru
ctio
n sy
stem
.
Cem
ent,
mon
olith
ic a
rchi
tect
ure
and
indu
stria
l pro
-du
ctio
n Re
info
rced
con
cret
e is
the
mat
eria
l cho
ose
by m
oder
nist
arc
hite
ctur
e. A
liqu
id s
ubst
ance
tha
t, w
hen
pour
ed in
to a
mou
ld, c
an s
erve
to m
odel
any
ty
pe o
f arc
hite
ctur
e an
d, o
nce
cons
olid
ated
, is l
eft t
o be
vie
wed
. Alre
ady
from
the
seco
nd h
alf o
f the
19t
h ce
ntur
y, th
e ne
w m
ater
ial s
eem
ed c
apab
le o
f giv
ing
a cl
ean
expr
essi
on t
o th
e fu
nctio
nal p
rogr
amm
e, o
f fo
llow
ing
and
adap
ting
itsel
f to
the
dem
ands
of u
se,
of b
eing
a v
alid
alte
rnat
ive
to ir
on, t
houg
ht a
s th
e co
nstr
uctio
n m
ater
ial
for
exce
llenc
e («
Rass
egna
»,
42/1
992)
. M
ore
than
oth
er m
ater
ials
con
cret
e po
sses
sed
all
char
acte
ristic
s ne
cess
ary
to tr
ansf
orm
the
cons
truc
-tio
n pr
oces
s fro
m h
andc
raft
into
indu
stry
. Le
Corb
us-
ier,
with
his
sear
ch o
f the
indu
stria
lisat
ion
of d
omes
tic
arch
itect
ure,
app
eare
d as
a p
ione
er: f
rom
191
5, w
ith
the
proj
ect o
f Mai
son
Dom
-Ino,
to th
e re
alis
atio
n of
U
nité
d’H
abita
tion
in M
arse
ille
(194
7-52
). E
ven
Au-
gust
e Pe
rret
, lik
e m
any
of h
is c
onte
mpo
rarie
s cl
ose-
ly r
elat
ed t
o th
e cl
assi
cal a
rchi
tect
ural
tra
ditio
n, a
t th
e be
ginn
ing
of t
he 2
0th
cent
ury
cond
ucte
d ce
r-ta
in a
rchi
tect
ural
exp
erim
ents
usi
ng re
info
rced
con
-cr
ete,
but
his
rese
arch
– li
ke th
e on
es o
f man
y ot
hers
- d
id n
ot e
ntai
l str
uctu
ral i
ssue
s as m
uch
as li
ngui
stic
on
es: h
e w
as o
nly
look
ing
for
a ca
non
for
the
new
m
ater
ial (
Sing
elen
berg
, 197
2). S
o w
hen
plan
ning
the
Atla
ntik
Wal
l beg
an in
194
3, c
oncr
ete
repr
esen
ted
a be
tter
sol
utio
n fo
r th
e ac
hiev
emen
t of
its
goal
s, in
te
rms
of ti
me
need
ed fo
r the
real
isat
ion,
in te
rms
of
effi c
ienc
y of
the
form
, and
in te
rms
of e
cono
mis
ing
the
proc
ess
of p
roje
ct-m
akin
g. B
unke
rs w
ere
seen
as
the
perf
ect
typo
logy
for i
nter
pret
ing
the
pote
n-tia
lity
of c
oncr
ete
as r
ecog
nize
d by
man
y m
oder
n-is
t mas
ters
. Tod
t ind
ustr
ies
com
pile
d th
e Ty
penh
eft,
a ca
talo
gue
of a
ll th
e bu
nker
typ
es n
eede
d to
pro
-te
ct t
he W
este
rn F
ront
, whi
ch i
nclu
ded
stru
ctur
es
for v
ery
dive
rse
goal
s, fr
om “C
omm
and
Post
” to
“Am
-m
uniti
on b
unke
r”, fr
om “A
nti-a
ircra
ft fo
xhol
e” to
“To-
bruk
”, an
d so
fort
h w
ith h
undr
eds
and
hund
reds
of
diff e
rent
type
s, ea
ch o
f th
em m
etic
ulou
sly
plan
ned
into
utm
ost
deta
il, li
ke a
n in
dust
rial p
rodu
ct (
Rolf,
* da
una
par
te l’
impi
ego
del C
A c
ome
sist
ema
trili
tico
che
sost
ituis
ce il
ferr
o da
ll’al
tra
l’im
pieg
o de
l CA
com
e m
ater
iale
fl ui
do, m
agm
atic
o ch
e co
nsen
te d
i rea
lizza
re s
trut
-tu
re m
onol
itich
e co
n rif
erim
enti
alla
lont
ana
arch
itett
ura
delle
orig
ini m
a co
n in
fl uen
ze
form
ali d
el v
icin
o es
pres
sion
ism
o te
desc
o: (v
edi E
rich
Men
dels
ohn,
Torr
e Ei
nste
in,
Pots
dam
, 191
9-20
)
* in
appr
opria
tezz
a te
cnic
a (in
arc
hite
ttur
a) d
i una
sim
ile m
igra
zion
e st
rutt
ural
e: in
con-
grue
nza
tra
cara
tter
istic
he d
el m
ater
iale
e s
iste
ma
cost
rutt
ivo
(Rud
olf S
tein
er, G
oeth
-en
aum
, Don
arch
, 192
4-28
, Han
s Sc
haro
un, a
cque
rello
arc
hite
ttur
a ut
opic
a, 1
939-
45)
1980
). Si
mila
rly, i
n fa
ct, t
o in
dust
rial w
orld
, the
ma-
jor c
ontr
ol p
roce
ss s
hift
ed fr
om th
e re
alis
atio
n st
age
to th
e pr
ojec
t mak
ing:
all
prob
lem
s wer
e re
cogn
ised
an
d so
lved
rig
ht t
here
in o
rder
to
avoi
d di
ffi cu
lties
at
the
cons
truc
tion
(De
Fusc
o, 1
996,
Piro
vano
, 199
1).
Ano
ther
indu
stria
lisat
ion
linke
d to
the
fi rst
one
is th
e co
nstr
uctio
n its
elf,
rela
ted
to th
e id
entifi
cat
ion
of a
n in
divi
dual
war
fare
pro
duct
as i
ndus
tria
l arc
hite
ctur
e:
beca
use
of th
e ab
solu
te c
orre
spon
denc
e of
form
to
use,
bec
ause
of t
he e
limin
atio
n of
all
activ
ities
rela
t-ed
to h
ousi
ng, a
nd b
ecau
se o
f the
rigo
rous
pro
duc-
tivity
of t
he c
onst
ruct
ion
(the
pro
duct
ivity
rela
ted
to
its p
rimar
y fu
nctio
n of
sur
veill
ance
and
pro
tect
ion)
.Co
nclu
sion
The
valu
e of
the
imm
ense
infr
astr
uctu
re, r
ecog
nize
d as
“ind
ustr
ial h
erita
ge”
and
as “a
rchi
tect
ural
man
u-fa
ct”,
allo
ws
the
risin
g of
new
mea
ning
s th
at c
on-
trib
ute
to p
rom
otin
g its
val
oris
atio
n an
d re
-cal
l in
lif
e. A
nd, a
bove
all,
the
high
light
ing
of A
tlant
ic W
all
rem
ains
as
part
of m
oder
n ar
chite
ctur
e hi
stor
y an
d he
ritag
e.Th
e sy
stem
of m
ilita
ry fo
rtifi
catio
ns c
onst
itute
s on
e of
the
gre
ates
t Eu
rope
an c
ultu
ral a
rchi
tect
onic
her
-ita
ges,
shar
ed g
eogr
aphi
cally
, whi
ch p
rese
rve
frag
-m
ents
of
the
colle
ctiv
e m
emor
y, fo
rmin
g th
e ba
sis
for t
he c
onst
ruct
ion
of c
onte
mpo
rary
Eur
ope.
Furt
herm
ore,
we
are
not u
naw
are
of th
e em
barr
ass-
ing
mem
ory
that
lies
in th
ese
build
ings
- a
colle
ctiv
e an
d m
utua
l mem
ory,
on
a Eu
rope
an b
asis
, not
yet
re
solv
ed a
nd in
cer
tain
way
s po
stpo
ned.
It s
eem
s as
th
ough
a lo
ok c
ould
rest
on
thes
e ob
ject
s, bu
t on
ly
unde
r the
not
ion
of a
liena
ted
mne
mon
ic d
rive:
mem
-or
ies
whi
ch re
mai
n fi r
mly
impr
inte
d in
thei
r phy
sica
l st
ruct
ure
and
geog
raph
ic p
lace
. For
that
reas
on it
is
also
nec
essa
ry to
confi
rm th
at d
ealin
g w
ith th
ese
em-
barr
assi
ng w
arfa
re p
rodu
cts
does
not
hav
e an
ythi
ng
to d
o w
ith a
ny s
ort
of a
ttem
pt t
o re
habi
litat
e th
ose
resp
onsi
ble
for t
he w
ar o
r tho
se b
elie
ving
in it
. In
fact
, w
e w
ould
like
to co
rrob
orat
e th
e id
ea o
f tra
nsfo
rmin
g th
e gr
eat A
tlant
ic W
all i
nto
a m
onum
ent b
ringi
ng to
-ge
ther
true
, pos
itive
and
cre
ativ
e ac
tions
, whi
ch w
ill
enab
le u
s onc
e an
d fo
r all
to tr
ansf
orm
the
mou
rnin
g an
d ke
ep th
e co
llect
ive
mem
ory
pres
erve
d in
it a
live.
W
hat a
re m
onum
ents
if n
ot in
stru
men
ts th
at p
reve
nt
peop
le fr
om fo
rget
ting
and,
at t
he s
ame
time,
pro
d-uc
ts w
ith t
he t
ask
of p
rese
rvin
g an
d ha
ndin
g do
wn
mut
ual c
olle
ctiv
e va
lues
? Thi
s, in
fact
, is
the
task
of a
m
onum
ent.
This
is w
hat T
he A
tlant
ic W
all s
houl
d be
.
gen
naro
pos
tiglio
ne
* la
dim
ensi
one
cicl
opic
a e
cent
ripet
a de
i bun
ker,
vere
con
cent
razi
oni d
i mas
sa, s
tabi
-lis
ce u
n le
gam
e di
rett
o co
n ce
rte
form
e ar
caic
he e
arc
hetip
e, tr
asfo
rman
do la
per
cezi
-on
e de
lle te
stim
onia
nze
in “r
ovin
e” e
pro
muo
vend
o un
a in
aspe
ttat
a “a
rche
olog
ia” d
i qu
este
arc
hite
ttur
e m
ilita
ri, è
la c
apac
ità d
elle
“cos
e in
sé”
, del
la lo
ro fi
sici
tà, a
pre
nder
e il
sopr
avve
nto
aggi
rand
o il
peso
del
la m
emor
ia
end-
note
s1]
pap
er fo
r con
vent
ion
DO
COM
OM
O Ib
eric
o, C
adiz
200
72]
The
res
earc
h w
as d
evel
oped
in c
oope
ratio
n w
ith T
he D
epar
tmen
t of
Arc
hite
ctur
al
Des
ign
at th
e Po
lyte
chni
c of
Mila
n (D
PA/P
olite
cnic
o di
Mila
no),
The
Arc
hite
ctur
e an
d In
-fr
astr
uctu
re G
roup
at t
he U
nive
rsity
of V
ersa
illes
(GRA
I)and
The
Ray
mon
d In
tern
atio
nal
Cent
re fo
r Con
serv
atio
n at
the
Uni
vers
ity o
f Leu
ven.
Mor
vere
the
wor
k w
as c
o-fi n
ance
d by
the
Euro
pean
Com
mis
sion
, with
in th
e pr
ogra
mm
e “C
ultu
re 2
000”
.
Gen
naro
Pos
tiglio
ne w
as th
e pr
ojec
t lea
der.
* la
form
a pl
astic
a de
i bun
ker a
ntic
ipa
la q
uest
ione
del
val
ore
este
tico
conn
esso
alle
fo
rme
tecn
iche
: il C
A d
a “m
ater
iale
cos
trut
tivo”
div
iene
“mat
eria
pur
a” (v
edi L
e Co
rbus
i-er
, Ron
cham
p 19
50-5
4, A
ndré
Blo
c, C
entr
o Cu
ltura
le in
Iran
, 196
5)
* la
mat
eria
si r
iduc
e a
form
a pu
ra: p
ieni
/vuo
ti; lu
ce/o
mbr
a; m
asse
e v
olum
i; te
xure
* il “
mat
eria
le c
ostr
uttiv
o” d
ivie
ne “m
ater
ia p
ura”
: col
ore
text
ure
gran
a fo
rza
o se
mpl
ice
supe
rfi c
ie (
vedi
Lui
s Ka
hn, P
alaz
zo d
el G
over
no, D
haka
196
2-83
)*
impi
anti
e sp
azia
lità
arca
iche
che
ripr
endo
no il
tem
a de
ll’et
erni
tà a
ffi da
ta a
l mon
u-m
ento
(ved
i Tem
pli d
i Ram
esse
s II,
Abu
Sim
bel T
empi
o di
Anu
e A
dad,
Ass
ur)
* m
ette
in e
vide
nza
il ca
ratt
ere
di “i
nter
no a
ssol
uto”
dei
bun
ker:
l’est
erno
esi
ste
solo
co
me
“intr
oiez
ione
” del
la li
nea
d’or
izzo
nte.
è la
vis
ione
/con
trol
lo d
ell’o
rizzo
nte
che
ne g
iust
ifi ca
e n
e go
vern
a la
pos
izio
ne
* l’a
stra
zion
e da
l con
test
o tr
asfo
rma
i bun
ker i
n og
gett
i de-
cont
estu
aliz
zati
capa
ci, p
er
cont
rapp
unto
, di m
ette
re in
mot
o un
a di
vers
a co
mpr
ensi
one
dei l
uogh
i*
la d
ecor
azio
ne d
iven
ta l’e
lem
ento
di m
edia
zion
e tr
a m
anuf
atto
e s
toria
, ren
dend
olo
cont
empo
rane
o (v
edi C
arlo
Sca
rpa,
Tom
ba B
rion,
San
vito
(Tre
viso
), 19
70-7
3)*
la d
imen
sion
e pa
esag
gist
ica
dei b
unke
r ne
esal
ta i
valo
ri pl
astic
i, tr
asfo
rman
doli
in
vere
e p
ropr
ie s
culp
ture
hab
itacl
es -a
ndre
blo
c- (l
a lu
ce p
enet
ra n
ella
mat
eria
den
sa
della
cos
truz
ione
): si
sup
era
la c
orbu
seria
na d
efi n
izio
ne d
i “vo
lum
i sot
to la
luce
” per
gi
unge
re a
d un
a pi
ù co
mpl
essa
; la
luce
è d
entr
o lo
spa
zio
della
str
uttu
ra
* la
dim
ensi
one
este
tica
del b
unke
r div
iene
nuo
vo p
aram
etro
est
etic
o pe
r la
mod
er-
nità
: mon
omat
eric
o co
mpa
tto
ster
eom
etric
o sc
avat
o in
terp
reta
in m
anie
ra e
mbl
em-
atic
a i d
etta
mi d
i cer
to m
inim
alis
mo
arch
itett
onic
o
LIN
EAR
MU
SEU
M